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Conjurer le non-actuel pour confirmer notre présence fragile au temps et à l’espace
CRUM is the Documentaliste in Residence at articule, Montreal, QC
September 2009 to June 2010
0.01% public artwork – Bathtub with sconce light and shelf
accomplished in collaboration with Steve Topping
Centre de recherche urbaine de Montréal (CRUM) is offering its services as Documentalist in Residence at articule during the entire programming season 2009-2010. Our specialized expertise will facilitate the realization of articule’s programming objectives in line with its 30th anniversary. As a non-profit organization that operates through symbiotic (parasitic) infiltration, the CRUM enhances communication tools through decentralized services, rendered on-site and at a distance for maximum convenience. Our tactical operations include CRUM Information Consultation Services (ICS), featuring editorial direction and intervention (with extensive use of Red Pen), in-depth exploration of articule’s Archives, and dissemination of semi-factual Truths; CRUM Organizational Facilitation (OF), universal maintenance activities and corporate retreat facilitation for cultural workers (based on The CRUM Method™); and CRUM Response to Artistic Concepts (RAC), including, but not limited to, subjective interpretation, automatic composition, and exploratory research into combustible materials. With an exclusive synthesis of contemporary communication networks and superseded technology, CRUM brings your message to the world with clarity and alacrity. Help us help you capitalize on your objectives.
All deliverables subject to CRUM Approval.
Licensing available upon request.
En résidence chez articule, Le Centre de recherche urbaine de Montréal (CRUM) offrira ses services de documentaliste pendant toute la programmation 2009-2010. Organisation à but non lucratif opérant par infiltration symbiotique (parasite), le CRUM améliore vos outils de communication en offrant des services décentralisés, en ligne et à distance, pour un maximum de commodité. Notre expertise spécialisée facilitera la réalisation des objectifs de programmation d’articule en conjonction avec son 30e anniversaire. Nos opérations tactiques comprennent les Services de consultation en information CRUM (SCI) qui proposent une direction et des interventions en rédaction (avec utilisation massive du stylo rouge), l’exploration en profondeur des archives d’articule et la dissémination de vérités à demi factuelles; la Facilitation organisationnelle CRUM (FO), activité d’entretien universel et lieu de retraite pour travailleurs culturels (basé sur la Méthode CRUM™); et la Réponse aux concepts artistiques CRUM (RCA) incluant, sans s’y restreindre, l’interprétation subjective, la composition automatique et la recherche préliminaire en matériaux combustibles. Par une synthèse exclusive des réseaux actuels de communication et des technologies désuètes, CRUM livre votre message au monde avec clarté et rapidité. Aidez-nous à vous aider à capitaliser sur vos objectifs.
Toutes les livraisons sont sujettes à l’Approbation de CRUM.
Licences disponibles sur demande.
An exhibition on collectives and how they work. The CRUM works together Saturday May 2nd at the Opening.
May 5 to June 13 2009
Opening: Saturday May 2 4–6 pm
Leonard & Bina Ellen Art Gallery
Knowles Eddy Knowles
Curator: Susannah Wesley
Wesley asked a few Quebec collectives to make new works illuminating their collaborative style. The five-member collective CRUM, (it stands for Le centre de recherche urbaine de Montréal) is presenting the residue of their shared writing project: the CRUMIFESTO. Completing each other’s sentences on specially modified typewriters, they have created non-linear narratives in the mode of the exquisite corpse.
(“Throughout the ages, forces beyond our control have oppressed our right to cut our toenails on the living room couch” or “There has never been a better time to claim our right to sweeten the deal. ALWAYS USE REAL SUGAR.”) Delight here comes from expecting the unexpected.” — Sarah Milroy
The CRUM would like to release its grievances to the public domain.
F: No room for the creative imagination in the creative economy. And technological determinism. Hate that.
M: Tired of being hassled by the man! Oh, and the urban space has beauty that is being taken for granted. I’m gonna make a stink about it.
D: Too many rules (conservatism); political correctness (conservatism); jumping on the band wagon of the new (technological determinism); lack of declarative free association texts.
C: Derivatives. No derivatives. Derivative derivatives.
A: Are grievances and thank yous the same thing?
D: Keep the man at bay and forever give thanks for the innate beauty of urban landscape.
With thanks to Tom Sherman and the Ottawa Art Gallery.
More information from Artengine here.
Le CRUM fait visite au Musée de dactylographes
A CRUM field trip to the Ste-Anne-de-Bellevue Typewriter Museum.
In preparation for the CRUMIFESTO performance at the Leonard and Bina Ellen Art Gallery, Concordia University, the members of CRUM determined the weight of an Underwood typewriter in Jerusalem artichokes. CRUM thanks E. Board for both the Underwood and the Jerusalem artichokes.
Atelier de thérémine avec Christian Carrière
Le CRUM est fier de vous présenter, pour la toute première fois, un atelier de thérémine. Une présentation sur l’histoire de cet instrument musical particulier et son inventeur, Léon Theremin, sera suivie d’une courte prestation avec l’accompagnement de Zachary Scholes au piano.
Après la présentation, vous aurez tous la chance de jouer le thérémine !
The CRUM is proud to bring you, for the very first time, a Theremin workshop. This enchanted afternoon will feature a short lecture on the history of this musical instrument and its inventor, Leon Theremin, followed by a performance accompanied by Zachary Scholes on piano.
After the presentation there will be an opportunity for all present to try out a real live Theremin for themselves! Read the rest of this entry »
Les Follies architecturales
Novembre / November 2008
Edition of 80
Lance Blomgren (Dawson City), Sara Graham (Toronto), David Hoffos (Lethbridge), Knowles Eddy Knowles (Jon Knowles, Michael Eddy, Rob Knowles; Montréal/Londres) et NIPpaysage (Mathieu Casavant, France Cormier, Josée Labelle, Michel Langevin, Mélanie Mignault ; Montréal); Curator / Comissaire Alexandra McIntosh
Urban research in a non-urban setting or blowing shit up!
Performed in collaboration with Chris Ricketts
and Julia Chan for the
White Noise Cabaret
You even called me friend
13th Symposium of Art, Sackville, NB
Owens Art Gallery
Struts Gallery & Faucet Media Arts Centre
GOOD THINGS HAPPEN IN SMALL PLACES
Despite New Brunswick’s reputation as a “drive-through” province, time and space converged this fall in Sackville to unleash the creative imagination. Thanks to the encouragement of supportive staff and members at the Owens Art Gallery and Struts Gallery & Faucet media Arts Centre, a curious group of artists from across Canada and through the porous border of the USA came together amidst an environment of controlled anarchy.
The experience was unmediated creative exploration and exchange as ample opportunities were offered to the artists and the local community to interact in official and less formal circumstances. The week presented diverse modes of artistic enquiry and included radio broadcasts, discussions open to the public, lectures and studio visits at the university, as well as spontaneous encounters over drinks at Duckys (the only bar in town). Artists Pam Hall and Margaret Dragu, Ed Pien, Tom Sherman, jake moore, Valérie D Walker, Mario Doucette, Jennifer Bélanger (and myself) fused with the local community of artists and creatively-minded people.
The Symposium is intentionally unthematic (signaled by the use of successive Anne Murray lyrics for each year’s title); however, it seemed the glue that held us together were questions regarding the centre and the periphery… or perhaps those things that get forgotten somewhere through time and space. The following is a summary of the weeks’ events for the benefit of those of you who were unable to join us. It is an attempt to share some of the unfettered synergy of that week in a small place on the periphery. Read the rest of this entry »
How to become a genius / Comment devenir un génie
September/Septembre 2008 – Calgary, Alberta
This edition is produced in coordination
with the Artcity Festival in Calgary.
Wednesday, September 10th @ 7:45 pm
at the Uptown Stage and Screen
How to become a genius is inspired by today’s fascination for the unique and fantastic ways of thinking that are contra-status quo in the contemporary culture. With the focus on the individual, our fast paced information based Western culture has a thirst for the next new thing and each of us wants (so we are told) to be unique, to stand out, to become the genius in our area of interest.
How to become a genius is an opportunity for the invited artists to reinterpret the idea of the “genius” as an open-ended concept – a fictional place, a literal space, or a metaphorical site that explores the creative genius and the ways in which imagination pushes boundaries. The works that are presented in the context of the Petite enveloppe urbaine will reflect the multi-faceted nature of this phenomenon. Read the rest of this entry »
Knock on Woods: a roving international artist residency
Un projet de Yvette Porter
En collaboration avec Quartier Éphémère www.fonderiedarling.org
Événement de clôture et discussion: 5 septembre 2008 de 17h à 19h @ articule
La résidence et habitation internationale, Knock on Woods, est un site nomade qui se consacre aux artistes d’ici et d’ailleurs et leur offre un moment de répit à l’abri d’un globalisme déroutant.
Knock on Woods is a nomadic temporary site that dedicates itself to offering local and international artists a sense of rootedness and respite from a hectic and bewildering globalism.
See images of the CRUM Corporate Retreat on the Knock on Woods site
The activities during the 12 hour residency compressed into this eleven minute video.
|An animated gif of the Lego Tree
(click for action)
The CRUM residency took place from 10 am to 10 pm, on August 31, 2008, outside the Darling Foundry
(See below for photographs of residency activities)
A heterogeneity of interests and commitments takes the individual members of CRUM to faraway places at different times. Distance and time are thus challenges to maintaining a collective identity within a cultural context that emphasizes individuality.
The CRUM will use Knock on Woods for a corporate retreat of 12 hours. Within the temporary autonomous zone and wilderness environment constructed by KOW we will undertake a period of unstructured intellectual reflection – we will exist together as a collective in the present moment. This will be an action in direct opposition to the neo-liberal results-oriented model to exist in the future or conservative tendencies to exist in the past. Read the rest of this entry »
You: Inversal Properties
Thursday, June 26th, 6-9pm
Open Studio, 401 Richmond Street West, suite 104
Edition of 55
Featuring the work of:
Jack Allen, Dan Cohen, Jackson Darby, Christopher Manousos, Paige McLachlan, Sinead Thibert
The theme of Issue No. 15 is inspired by the essential quality of an object, form or symbol that we recognize as invariable, despite inverse transformation. You: Inversal Properties explores the idea of individuals living collectively within a universe and how they recognize the importance of these invariant or ‘universal’ properties. The works that are presented in this issue of the petite enveloppe urbaine reflect the underlying forms that are preserved through inversion.
This particular edition of the Enveloppe, coordinated by Jack Allen with the assistance of CRUM member Matt Killen, exclusively features the work artists between the ages of 18 and 20.
30 May 2008
Présentée par le Centre de recherche urbaine de Montréal (CRUM)
Doug Scholes à invité deux artistes Caroline Dubois et Julie Favreau à investir son atelier (aka le “CRUM clubhouse”) et à travailler avec son contenu comme point de départ d’un projet de création. Dans ce lieu insolite, elles confronteront le corps à l’espace de l’atelier et présenteront une série de tableaux vivant crées sur place.
Doug Scholes has invited Caroline Dubois and Julie Favreau to work with his studio (aka the “CRUM clubhouse”) and its contents as fodder for their creativity. In this unusual space they will perform live a series of tableaux vivants which juxtapose the body to the studio space. Read the rest of this entry »
octobre / October 2007, Montreal (Québec); Toronto (Ontario)
Edition of 66
LANCEMENT / LAUNCH
Friday, October 26th, 2007 : 7-10pm
Art Metropole, Toronto (Ontario)
With a live Doom Metal performance by Matt Killen.
Saturday November 10th , 2007 : 14h30 – 17h30
Pierre-François Ouellette art contemporain, PFOAC, Montréal (Québec) Accompanying the solo exhibition John Latour ” Chimérique” and Outside of the Ordinary a presentation of video and animated films.
Peu 14 – Press Review in Locus Suspectus, No 5 (Fall, 2007) p 7
LANCEMENT / LAUNCH
19 octobre 2007 (en honneur de la Centre St-James )
18h à 23h
à Dare-Dare Centre de diffusion d’art multidiciplinaire de Montréal.
All proceeds from the launch will go to the Saint James Drop-In Centre. Les profits de la vente au vernissage seront versés au Centre de jour St-James.
dream listener: an audiobook in three movements is the compelling story of dream listener, a public art project by artist Karen Spencer in collaboration with the Centre de recherche urbaine de Montréal (CRUM), Homeless Nation, and the St-James Drop-In Centre. …
dream listener, le livre audio en trois parties est l’histoire fascinante de porteur de rêves, un projet d’art public signé Karen Spencer en collaboration avec le Centre de recherche urbaine de Montréal (CRUM), Homeless Nation et le Centre de jour St-James…
Photos from the launch (courtesy of Jean-Pierre Caissie and Dare-Dare, and featuring the mobile sculptures of Alexandre David)
16 juillet 2007, Marché Atwater / Atwater Market, Montréal
FITZGERALD, L.L. Landscape with Trees, 1931. Oil on canvas board. 35.9 x 43.4 cm. National Gallery of Canada, Ottawa. Accession no. 15473. (Reproduced from Canadian Art : Catalogue of the National Gallery of Canada Ottawa. Vol. 1 / A-F. Eds. Charles C. Hill and Pierre B. Landry. Ottawa : National Gallery of Canada, 1988. p. 342)
Public art and landscape painting = L’Art public et la peinture paysagiste
The Pictorial Propaganda project was initiated by Felicity Tayler for the CRUM in 2006.
The project uses conceptual performance and the archetype of the Western tradition of landscape painting to engage the public in an ongoing discussion regarding economic value, identity, individualism, nature and the urban environment.
To pursue the research, Tayler assumes the role of a traditional plein-air landscape painter as a pretext in order to engage the general public in an open dialog. Individuals who pass the artist and her easel installed in public spaces (public markets, shopping mall parking lots, touristic areas) stop to observe the painting unfold. However, they quickly realise that she is not painting the scene infront of her but is instead reproducing existing works from important museum collections. In reaction, they share their personal philosophies with her and occasionally find something to trade in exchange for a painting.
The project has taken place in 2006 at the Atwater Market in Montréal and at La Centrale Galerie Powerhouse during the annual St-Laurent bouleverd street fair. In 2007 as part of the 25e Symposium international d’art contemporain de Baie-Saint-Paul and PEINTURE FRAÎCHE, at DARE-DARE, centre de diffusion d’art multidisciplinaire de Montréal… The fieldwork is ongoing and future iterations can be followed through the Pictorial Propaganda blog.
Nous sommes tous des beaux rêveurs
We are all beautiful dreamers
Karen elaine spencer a présenté une performance/lecture de rêves au Festival Voix d’Amériques, le 5 février 2007 entre 17h-19h à la Casa del Popolo dans le cadre de la serie Text-Perplexed animée par Victoria Stanton.
As part of a segment of the spoken word Festival de Voix d’Amériques, dream listener recounted a narrative of her experiences. Perched on a tall stool in front of a microphone, she seemed tentative at first and alternated throughout between telling a story and reading dreams.
She stated early on, “these are not my stories, but they are my stories to tell.”
So much of what dream listener is about is the notion of “authorship” synonymous with ownership in our knowledge economy, where intellectual property becomes a hotly contested legal matter. In our economic structure, dreams are something from nothing. They are a common, shared creative experience with little value because it does not take great skill to do it. Dream listener also points out that in our economic structure sleeping is considered a waste of time, hence the expression, “sleeping on the job” or sleeping “too much.” Dreams are undervalued precisely because they come from this useless activity, and they in themselves cannot be bought or sold. Despite their pervasiveness dreams remain mysterious and with out convincing explanation – why do we dream?
“it was mostly the dream holding aspect of the project we talked about as the other part is slower to come together… it is so difficult to talk intelligently about homelessness and dreams.
“so far things have been moving rather slowly. i have not yet been able to work with the maison d’acceuil sans abri, but i continue to meet with sylvaine, the director…and maybe this wednesday i will get the chance to present my project to the residents so i can listen to their dreams. there are no homeless living in doorways, chicoutimi is a small town and it seems everyone has shelter of some sort. my project so far has been to condense into thirty words or less my own dreams and then to write the dream on carboard and circulate on racine street.
An exercise in public art and landscape painting
Felicity Tayler, 2006
From June to September 2006, Felicity Tayler has engaged the public by painting landscape paintings at the local market. By presenting the general public with a familiar image of the artist she was approached regularly by individuals curious to see the fruits of her labour.
dream as private property
by Ogden Nash
This is my dream,
It is my own dream,
I dreamt it.
I dreamt that my hair was kempt.
Then I dreamt that my true love unkempt it.
homelessness and dreams
Dreams are invisible to others. a wholly private, personal world that the dreamer “owns”, as ogden nash writes—it is my own dream, I dreamt it. as such dreams are a personal resource that, in the terms of the market, are scarce. no dream is identical to your dream, your dream cannot be reproduced and only you can tell it. (choosing to not tell the dream can be as powerful as choosing to tell the dream.) your dream is yours, no-one can take your dream away from you, the dream is your very own private property with but one witness…you. here, you are the expert, the dream is yours.
This fact, of complete ownership, of complete privacy, means that the dreamer has something no-one else possesses. the dream is wholly bound within the dreamer…her intellectual property.
février / February 2006, Montreal (Québec)
Dare-Dare, Centre de diffusion d’art multidisciplinaire de Montréal
Teletaxi : a mobile interactive media art exhibition
Présenté par Year Zero One, à Montréal, du 21 mars au 21 juin 2005. Dans le cadre de la programmation DIS/LOCATION: projet d’articulation urbaine de DARE-DARE Centre de diffusion d’art multidisciplinaire de Montréal.
Presented by Year Zero One, in Montreal, from March 21 to June, 2005. As part of the DIS/LOCATION: projet d’articulation urbaine programming of DARE-DARE Centre de diffusion d’art multidisciplinaire de Montréal.
Information + democracy
Information + démocratie
CARTE BLANCHE est un project autonome crée et dirigé par Hugues Charbonneau et L’Association des galeries d’art contemporain (AGAC).
CARTE BLANCHE est un périodique trimestriel qui est distribué gratuitement à Montréal, à New York ainsi qu’à Toronto dès mars 2004.
Le mandat de CARTE BLANCHE est d’offrir aux artistes l’accès aux nombreux avantages de l’édition à grand déploiement, tout en conservant le contrôle sur la représentation de leurs productions. Nous travaillons également à favoriser l’expansion du réseau d’échange entre les communautés artistiques montréalaise, new-yorkaise et torontoise.
La science-fiction comme commentaire social
Science Fiction as Social Commentary
Silence implies consent
Le Centre de recherche urbaine de Montréal vous offre Qui ne dit mot consent, une oeuvre interactive de Felicity Tayler. Plusieurs jeux de 40 cartes, comme celui-ci, one été distribués à travers le pays dans le but de vous permettre de changer le ton des échanges interpersonnels que vous jugez insatisfaisants, par l’introduction de sujets simples qui auraient autrement été ignorés ou évités.
The CRUM (Centre de recherche urbaine de Montréal) is pleased to present Silence Implies Consent, a project from Felicity Tayler. The project consists of 40 cards, distributed across the country. The objective is to infiltrate impersonal exchange by introducing topics into the everyday communication that would ordinarily have been ignored, avoided or unasked.
Destinations : Avec une conversation entre / with a conversation between Hugues Charbonneau, Isabelle Hayeur et/and Patrice Loubier. Montreal : Centre de recherche urbaine de Montréal, 2004. 35 p. ill.
Réalisé et coordonné par // conceived and directed by
with performances by / avec la participation de
Women With Kitchen Appliances
Mapping the Shadows / Drawing a Likeness
Un événement in situ dans la ruelle entre les rues De l’Esplanade, Waverly, Bernard et Van Horne – Samedi le 24 mai 2003, 21h à 22h
A site-specific installation in the alley between De l’Espanade, Waverly, Bernard and Van Horne – Saturday, May 24th, 2003 9:00 to 10:00 pm